Estudios e investigaciones

The Colonial Churches of the Cotahuasi Canyon

Gauvin Alexander Bailey; Manuela Adelstein, Ricardo González — Fri, 27 Dec 2024 00:00:00 +0000

The colonial churches of the Cotahuasi Canyon in Peru are among the least known in
the history of viceregal architecture. Before 2010 none of them appeared in a scholarly
publication even though they include three important examples of the Andean Hybrid
Baroque style, better known as “mestizo baroque,” including the second-oldest dated
work (1679). Although dependent upon the archbishopric of Cuzco these churches
have closer stylistic affinities with Arequipa and Caylloma and some of them were
likely built and carved by artists and artisans from those regions. Drawing upon new
photographic and archival material this study considers seven of these churches, including
San Martín de Tours (1679) and La Inmaculada Concepción (1792–96) in Cotahuasi, La
Inmaculada Concepción in Taurisma (1687), Nuestra Señora del Rosario in Tomepampa
(17th century, renovated 1803), San Pedro in Alca (late 17th – 19th century), Jesús
Nazareno in Cachana (late 18th – early 19th century), and El Señor de la Exaltación
in Visve (late 17th – 19th century). It describes these churches, relates what is known
about their histories, and briefly examines affinities with the architecture of Arequipa
and Caylloma The purpose of this article is not just to introduce these churches into
the canon but also to increase awareness of their importance at a time when most of
them are threatened by lack of upkeep and theft.

Reception, Uses and Functions of the Monarchical Portrait in the Proclamation and Oath Ceremonies in 18th Century Spain

Nilce Cothros — Thu, 05 Dec 2024 00:00:00 +0000

This article studies the uses and functions of the portraits that represented the Hispanic monarchs during the proclamation and oath ceremonies held in the 18th century in Spain, and the responses that these images elicited from the public. Different written and visual sources are analyzed: the Relaciones de sucesos, which narrate the events that took place during the celebrations, and images (paintings and engravings) of the festivities. The Baroque festival has been analyzed in various lines of research, but we consider that the interaction between the participants and the royal images has not yet been thoroughly explored. We will therefore follow not only the primary focus of studies of these celebrations, but also the ideas of David Freedberg, Louis Marin and Ernst H. Kantorowicz.

Ver y Estimar: una manera extemporánea de pensar la conciliación de las artes

Fernando Fraenza, Natalia Destéfanis — Thu, 05 Dec 2024 16:04:40 +0000

The purpose of this writing is to show that in the context of the magazine Ver y Estimar, Jorge Romero Brest ―together with his disciples Angelina Camiccia, Samuel Oliver and Damián Bayón― present a conceptual difficulty to approach and understand modern architecture. From the rejection ―in order to architecture― to the most radical functionalist theories, they address a type of relationship or integration of the arts and architecture, attending to the topic space as an element of articulation between these disciplines, opposed to those of the more radical avant-garde, represented in Buenos Aires, by Tomás Maldonado and the Asociación Arte Concreto Invención. Therefore, from the analysis of different articles, it is interpreted that, in Ver y Estimar, they express
the ideas and beliefs about the type of artisticity typical of design and architecture, largely reproducing the traditional values of art. Therefore, the supposed synthesis of the arts, was thought around four ideas: 1) the turn towards an “abstract geometrism”; 2) the criticism of ornament; 3) an extemporaneous way of thinking about the conciliation between the arts; and 4) a stale idea about the meaning of architecture.
conciliation between the arts; and 4) a stale idea about the meaning of architecture.

Las Tablatures for Plucked Chordophones: Another Cultural History

María Eugenia González Impieri — Thu, 05 Dec 2024 16:05:04 +0000

The centrality of the lute during the sixteenth century is well known and the dominance began to occur as early as the last decades of the previous century. From the Arab ‘ud it underwent a gradual transformation during the Middle Ages until it adopted what we could call definitive in the 16th century. During the Renaissance, the lute served multiple functions. It is not only revealed as a solo instrument and as a companion instrument or it stands out for the originality and diffusion of its repertoire, but it is also used as a didactic tool, as an instrument in which composers test their works and in which experiments are carried out with the temperament. On the other hand, it generated an active commercial movement led by music printers, booksellers and luthiers, in addition to creating the demand for teachers and professional lute players. We have considered using cultural history as a suitable framework for the study of the lute movement and, advancing in this idea, we believe that it is possible to deduce
multiple cultural histories given the various functions performed by the instrument
and the environment it generated.One of those histories is the one we will expose in
this work: a cultural history of lute-specific notation, that is, the tablatures.

Musical interpretation and anachronism: Time impurities in the interpretation modes

Daniel Halaban — Thu, 05 Dec 2024 16:05:27 +0000

In this paper, we aim to problematize the relationship between musical performance and music history taking as a point of departure the different modes of performance as categorized by Hermann Danuser: the “traditional mode”, the “actualizing mode” and the “historical-reconstructive mode”, the last one is also known as “historically informed performance (HIP)” since its “resurgence” in the 1960’s and 1970’s. Thus, we intend to show, by way of analyzing some recordings, the potential of musical performance in revealing the anachronistic character of musical works, i.e.: to bring to the surface the heterogeneous tem-poralities that conform the musical work, the “prophetic” of past music and what “survives” from these works in contemporary music.

Caminos a una nueva conciencia histórica

Gesa Wieczorek; Claudio Marcelo Iglesias — Thu, 05 Dec 2024 16:05:49 +0000

Mondongo’s Argentina presents a contrasting concept to the traditional national landscape established in the nineteenth and twentieth centuries during the formation of modern nation-states. Created from 2009 to 2013 using plasticine, Argentina features fifteen monumental panels depicting an untamed, threatening forestscape. Instead of fostering a national identity, these works deconstruct the “myths of history”. The spectator’s active participation is crucial in unveiling what is hidden beneath the dense foliage. As the spectator navigates through the thicket, he begins to decipher the country’s chronicles. Thus, the artists guide the viewers towards a new historical awareness.